Humanity’s ascent is often measured by the speed of progress. But what if progress is actually spiraling us downwards, towards collapse? Ronald Wright, whose best-seller, “A Short History Of Progress” inspired “Surviving Progress”, shows how past civilizations were destroyed by “progress traps”—alluring technologies and belief systems that serve immediate needs, but ransom the future. As pressure on the world’s resources accelerates and financial elites bankrupt nations, can our globally-entwined civilization escape a final, catastrophic progress trap? With potent images and illuminating insights from thinkers who have probed our genes, our brains, and our social behaviour, this requiem to progress-as-usual also poses a challenge: to prove that making apes smarter isn’t an evolutionary dead-end.
Humanity's ascent is often measured by the speed of progress. But what if progress is actually spiraling us downwards, towards collapse? Ronald Wright, whose best-seller, A Short History Of... . You can read more in Google, Youtube, Wiki
Kelly K (br) wrote: A great historical film about the slave-master relationship between President Jefferson and Sally Hemmings. This film has some of the most believable acting I have ever seen. It is emotional, poignant and ever bittersweet.
Carlos M (it) wrote: At first, it seems like John Waters wants to make an audacious hate letter to mainstream cinema with some nice moments of brilliance, but then you realize his "revolutionaries" are a bunch of freaking tards and the film gets too over-the-top and all over the place to have a point.
(ca) wrote: Authentic and well-acted, but not much else. At no point did I care what happens next and bland cinematography didn't help. There are movies that provide good social commentary without being a drag.
Darrin C (br) wrote: Not exactly realistic when dealing with Skinheads and educated college Brothas, but the acting was quite impressive and the story mostly original. However, I'm afraid that audiences didn't learn what the director was gunning for us to take away from the film. It didn't change anything.
Nancy C (nl) wrote: A classic funny horror film.
Sean C (kr) wrote: This slab of vintage giallo dares to cut back on the juice and up the ante on the plot. It's slowly paced and feels like a Polanski picture in parts, it's just a shame the movie's marketing needs to push the main shock rather robbing it of its power come the final reveal.
Christian C (mx) wrote: Interesting film -- if for no other reason than to see gay stereotypes from the late 1970s and early 1980s. Bold role for Paccino, played convincingly.
Greg W (fr) wrote: another story of a hooker or street walker tales
Roland S (mx) wrote: Pretty much like the previous film, only in space. And Godzilla has a "happy moment".
Marco T (au) wrote: Yakuza, sparatorie, appostamenti, pedinaggi, fughe, infiltrazioni e coperture non possono che invogliare la visione. Se poi ci aggiungiamo un regista-artista che fa di ogni inquadratura un piccolo capolavoro...Shishido, che qui si rivela pure ballerino, il coniglio pi cool del Giappone <3
STCENTERPRISE (ag) wrote: I think it is a better version than the remake made in 2000. I feel like there are more jokes to understand because of talking dogs. Because the dogs don't talk in the 1996 version a lot of jokes are missed since they are referred. I think there is more personality in this version expressed by the voices & by the animation.
Luke J (au) wrote: Floating Weeds may not hold a candle to Tokyo Story, but it's still a great movie. Better than most as is generally the case for lesser works of a master. The last half of the movie makes the first half worth it. Specifically, there's a scene near the end where - and I won't use names because I don't want to spoil it - one character tries to light the cigarette of another, and the result is screen magic. The shot selection Ozu uses is par for the course on a film of his: carefully selected and almost always perfect. He sets up the blocking so well that you could understand a scene just by the way everything is arranged. While sometimes this can come off as stagey, it works well for a movie about an acting troupe. A great movie by any standard, and a heck of a lot less melancholy than Tokyo Story.
Andriy D (kr) wrote: An austere, powerful masterpiece from the man whom I consider to be the greatest French director who ever lived. A precise and unnerving exploration of faith, evil, and anguish by a true master of cinematic technique.
Alex S (es) wrote: An extremely intelligent thriller that deftly blends intensity with patience to make for a fascinating look into a psychopath's mind, George Sluzier's The Vanishing is a must-see for anyone looking for an affecting and memorable feature.